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MOM/A 




STATIONERY 



VOLUME 6 

NUMBER 3 

AUGUST 

1998 



An Interview with Dorothy A. Yule 

Edward H. Hutch ins 

Cairo, New York 

You might wonder how a French major who 
graduated from Barnard College in 1972 ended up 
producing imaginative miniature pop-up books. 
Dorothy Yule took some art classes in Japanese and 
western methods of woodcut printmaking as an 
undergraduate and then went on to get a post graduate 
certificate in printmaking at London's St. Martin's 
School of Art. Back in New York, she took classes in 
etching and silkscreen at Pratt Graphics Center and 
bookbinding and letterpress printing classes at the 
Center for Book Arts. In 1989 she was awarded a 
Master's degree from the Mills College Book Arts 
Program. This explains how she learned her craft and 
technique, but it doesn't explain her creativity and 
uninhibited approach to books. 

I was introduced to her books when I discovered 
"Souvenirs of Great Cities" at the 1995 Washington 
Book Fair. To learn more, I met Dorothy in San 
Francisco in 1996 and we've continued our bi-coastal 
correspondence ever since. One of the first things I 
wanted to know was how making books became an 
important part of her life. 




Souvenirs of Great Cities 

1 started making books when I was in grade school. 
My earliest were poems with illustrations, folded into 



signatures and stapled into little books. I continued to 
produce these simple books into my teens. I grew very 
interested in printing and printmaking after college. I 
was also interested in making books as an expressive 
art form. Owing to the real-life problems of earning a 
living, it was many years before I had the opportunity 
to pick up this study again. Now I work as a designer 
at a newspaper to support my book work. 

How did your art background, miniature books and 
pop-ups all come together? 

Several years ago I made a little book for a friend 
for her birthday. It was a little codex about an inch- 
and-a-half square, bound in marbled paper scraps and 
illustrated with rubber stamps. When the next big 
birthday came along, I had long scraps of paper from 
another book project that I started idly folding into an 
accordion. Somehow the idea of the rubber-stamp 
images and the concertina came together and resulted 
in my first little pop-up book. 

Did this lead to more books? 

The first pop-up books I made were very simple 
structures. Over time I played with the form. I started 
making more complicated pops - pops popping off 
other pops, scenes with several layers of pops, pops 
with little bits of paper sewn onto them. I started to 
think about how I could make a book in this form that 
I could print and bind. I thought of making the 
concertina out of a piece of paper folded in half so that 
when you cut the pops out and pulled them forward 
there would still be a backing sheet behind them to 
give the illusion that the pop-up was floating off of the 
paper. I also decided to make the book read both ways 
so you could use every valley fold for a pop-up. 

How did this become "Souvenirs of Great Cities"? 

As I was casting around for a subject I had the 
opportunity to visit Paris. I sent back a lot of rhyming 
postcards to friends about places I was seeing and that 
gave me the idea of making books about cities I had 
lived in: New York, London, Paris and San Francisco. 
The more complicated pops in the city books came as 
a solution to the problem of having to print the books 
in two sheets and needing to deal with the bulky valley 
fold where the sheets were joined — so that in New 



The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for The Society is $15.00. For more 
information contact Ann Montanaro, The Movable Book 
Society, P.O. Box 1 1654, New Brunswick, New Jersey 
08906. 

Daytime telephone: 732-445-5896 
Evening telephone: 732-247-6071 
e-mail: montanar@rci.rutgers.edu 
Fax: 732-445-5888 

The deadline for the next issue is November 15. 



Continued from page 1 

York, I did a double-layered skyline view of New York 
from downtown and midtown; in London 1 did the bridge 
near Big Ben coming off the main pop as a secondary 
pop; in Paris I sewed flags to strings off the Eiffel Tower 
and in San Francisco I made little strips of bay - one with 
a ferry boat — coming off the skyline. The result was very 
playful, the set is almost like toy books. 

When I was working on the Cities books, I referred to 
them as toy books because they are as much like toys as 
they are like books. I like pop-ups because they are 
playful and work especially well in this small scale. I 
have made books as big as three inches square in order to 
sew more complicated pops — when I put multiple layers 
together or sew things I need some space for my big 
fingers to move. 

Now tell us about that wonderful "Wedding Cake 
Book". 

1 made the "Wedding Cake Book" on the occasion of 
a friend's marriage. I wanted to make a book that would 
turn into a cake. 1 used the basic concertina structure 
and, playing around with the idea of a round cake, put in 
section pieces on the top and bottom of the valley folds so 
that the book could be made into a full circle. This made 
one layer of the cake. I put rubber-stamp images into the 
folds that I printed in gold with embossing powder — 
butterflies on the top layer, humming birds on the second 
layer, and larger images that followed a rhyming text on 
the bottom layer. I made little folded pieces of paper with 
ribbon loops to connect the concertinas into open circles 
and made a long thin piece of paper with a 



bride-and-groom to wrap the layers around and make a 
top for the cake. The three little books were tied with 
gold ribbon and presented in a box with the flat "wedding 
couple". 

What do you have planned for your next pop-up 
book? 

I keep thinking I'm done with this form but it keeps 
coming back. "Memories of Science," the book I did in 
prototype last year, is based on that same concertina form 
but it has french-folded signatures with verses in 
alternate valley folds and rather more complicated pops 
- all tabbed in and sewn through the backing paper. I 
guess I find it endlessly fascinating to try to make it more 
and more complicated and I think the small scale in 
miniature books adds to the charm of the pop-ups. 




Where do you get the topics or inspiration for your 
books? 

I get the inspiration for my books from life. What I 
realized in graduate school is that all my books have 
strong autobiographical elements. Some are more directly 
related to my experience than others; some are more 
personal and some are more abstract and tangentially 
related. 

continued on page 8 



Movable Books at School: 

A Report of my Experiences in Germany 

Ulrich Tietz 
Recklinghausen, Germany 

From collecting to doing-it-yoursclf 

What will happen if you have been collecting pop- 
ups for 17 years with all your heart? Either you and 
your books will be shown the door by your wife some 
time or other, or both partners will collect pop-ups 
together and will use this hobby not only by collecting 
things but also for doing something in a creative way. 

My first encounter with a pop-up took place in 
1979; it was the German edition of Pienkowski's The 
Haunted House. It goes without saying that in the 
beginning I was only interested in collecting these 
books. But then I came across books about folding 
techniques like the series of books in English by 
Tarquin Publishing and the books of Masahiro 
Chatani. 

I thought of passing on my own experiences to my 
pupils. My wife teaches children aged 6-10 at a 
primary school and I teach children aged 10-16 at a 
comprehensive school. In the following essay I would 
like to report about my experiences with pop-ups at 
school; these experiences reach from simple cards, to 
whole booklets, up to a huge "book" in the format 1,90 
m x 1,30 m and weighing 44 kilos. 

Movable books in Germany 

Movable books are not very current in Germany. 
Most of them, and the best of them, have not arrived 
here at all. Publishing houses fear the risk of editing a 
German version (Ron Van der Meer's "Packs" are an 
exception). Smaller bookshops present pop-ups on 
their shelves only unwillingly because they are likely to 
be damaged by kids. As a collector you are dependent 
on mail-order catalogs, on coincidence, and on the hit 
list in Movable Stationery. The children we teach, in 
most cases, come from families in low or middle 
incomes. Such families cannot spend 30 or 40 marks 
on a children's book of only six pages. 

Growing interest for pop-ups among children 

Due to the reasons mentioned above, it is obvious 
(hat the pupils who are taught art by my wife and me 
have rarely seen movable books. But this is also a 
chance to motivate these children. They arc fascinated 
once they have been shown pop-ups; and they are 
immediately willing to try to rebuild the more simple 



techniques. Later on, as they progress, the degree of 
difficulty is enhanced. 

Which technique for which age 

The most popular technique with younger pupils is 
the double "V," used for producing a big mouth. This 
angle of crease is easy to rebuild and it also offers 
many opportunities to make your own ideas come true. 



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Big mouth 

In practice I proceeded in the following way: 

1. The children are shown examples of a specific 
technique (the most beautiful and the biggest 
mouths surely come from Jan Pierikowski and 
Kees Moorbeek). 

2. This technique is practiced on drawing-paper (also 
with jagged cuts). 




3. The children plan their own drafts for human 
beings, animals, robots, monsters, etc. 

4. These drafts are transferred to firm cardboard; they 
arc colored and decorated further (with stripes of 
paper or wool for the hair, with spiral or long 
tongues, etc.). 

5. Finally the completed cards can be bound into a 
book. 



The procedure I have described above can be 
applied in the same chronology to older pupils as well. 
Here are sonic folding techniques which have proved 
to be of worth and which arc popular with pupils: 

- rotating discs with windows (fixed by the help of 
paper fasteners), 

- mountain and valley creases with glued elements, 

- horizontal "V"-foldings with glue tabs, 

- sliding motions are suitable only for advanced 
pupils because of slots and stoppers. 

With any technique the trial-and-error stage is vital. 

On selecting a motif, you have to make sure that it 

does not protrude from the picture format when folded. 

However, children will recognize very soon why 

the producers of pop-ups arc called "paper engineers." 



high size format; to apply other folding and drawing 
techniques working excellently on paper or cardboard 
was not feasible with plywood. However, after 
attempting this and that and after studying many pop- 
ups, several techniques could be applied which were 
compatible with the specific construction of the book. 
For each page of the book has an overlapping frame at 
the rear on which is screwed the next page. Thus, a 
hollow space of approximately 6 cm is created in which 
the book's technique is hidden. 

The solutions 

The first scene shows a lorry from Hamburg in the 
year 1946 in front of a mining scenery. A hidden 
rotating disc makes smoke rise out of a chimney. The 
sheave of a headgear is moved by an clastic band which 
is hidden, too. 



Movable Books at School: 
Pupils produce an "XXL-book" 

The case history 

Recklinghausen is a city of approximately 130,000 
inhabitants situated at the edge of the Ruhr area. It is a 
region which has been characterized by the winning of 
coal and by the production of steel during the last century. 
In the severe post-war winter of 1946-47 theater people 
from Hamburg travelled toward the Ruhr area to 
provide themselves with coal for their cold theater. 
After almost 300 km they happened to arrive at 
Recklinghausen. Here the artists were helped by 
miners. The artists themselves thanked these miners by 
giving a guest performance. In the years to come, from 
this lowly beginning, developed the "festivals of the 
Ruhr," an annual festival of supra-regional 
importance. 

The idea 

In 1996 the school where I teach was asked for a 
contribution to the anniversary of the festival 
mentioned above. On this occasion it came to my mind 
to produce with my pupils an oversized movable book. 
Very quickly I found an interested group of pupils 
(aged 13); and they developed quite a number of good 
ideas in a short time. 

The problems 

Very soon the first difficulties emerged, resulting 
from the oversize format of the book desired. To apply 
90° techniques was not possible because of the 




Mining scenery 
smoke and sheave move 



In the next scene (from the year 1955) Hamlet appears; 
he docs not only have a skull in his hand, but he can 
also - by the help of a lever - throw it up if desired by 
the pupils. 




First Book Arts Jamboree a Bestseller 

Roy Dicks 

Raleigh, North Carolina 

The first Book Arts Jamboree, the brainchild of our 
own Ed Hutchins, was held on June 7-12, 1998 in Cairo, 
NY (nestled in the Catskills) at the Cedar Terrace Resort. 
The registration capacity of 60 people was hit early on 
and, by all accounts, we had a blast. Besides Ed and 
Robert Sabuda (there as an instructor), other members of 
the MBS who participated included Judith Bennett, 
David Damian Full, and myself. Also there were book 
artists Lisa Melhorn-Boe (whose books were featured in 
the May, 1998 edition Movable Stationery) and C. J. 
Grossman, who attended part of the MBS convention in 
Los Angeles. 

The Jamboree was an intensive six days of instruction 
and artistic sharing, with formal classes set up in the 
mornings and mini- workshops and demonstrations in the 
afternoon. Ed had one class in tunnel-book making and 
another in producing work in multiple editions. Robert 
had two sessions of the same class in pop-up paper 
engineering. Bookbinder Carolyn Chadwick two sessions 
of decorative box-making and book artist Miriam Schaer 
taught one class entitled "Extraordinary Books/Ordinary 
Materials" and another on "wearable books." 

The spectrum of participants ranged from the those 
who had never done anything like this before (me!) to a 
wide range of artisans and craftspersons there to hone 
their skills, as well as a number of people who are 
working artists. All were there to add new knowledge 
and experience to their arsenals. 

I personally have never experienced such an open, 
giving spirit, a feeling of "we're all in this together" as 
was demonstrated among the participants here. All the 
classes had projects that had to be completed outside the 
class time, so much time was spent together in the 
various studio spaces, which were available 24 hours a 
day. There was a true sense of camaraderie among those 
working into the wee hours, with a lot of "what do you 
think of this" and "how can I get this to work." 
Participants gladly shared ideas, suggestions and 
materials, each delighting in the other's solutions and 
inspirations. 

The results were truly astounding, as was evidenced by 
the "show and tell" held on the last morning. The amount 
of creativity that had been poured into these projects was 
certainly a product of a very positive synergy that had 



been created all week. There were tunnel books with 
automatically opening front flaps and with movable 
parts. There were beautiful artworks in the form of a 
book that could be worn around the neck or attached to 
clothing. There were magical boxes which held 
everything from found treasures to 3-D paperfoldings. 
And there were X-rated pop-ups! 

In addition to the formal classes, there were 
demonstrations and workshops on papermaking, 
marbling, gocco printing, buttonhole books, mono prints, 
gelatin printing, paste papers, Jacob's ladders, flexagons, 
and portfolio wrappers. Robert gave another version of 
his well-researched history of pop-ups and Miriam gave 
a history of wearable books. 

Other events in the tightly packed schedule were 
pre-dinner videos on book arts-related subjects, a book 
exchange (of projects made by the participants), an 
instructor's "show and tell," a sell-and-trade session, a 
silent auction of donated works, and a history of alphabet 
books. There were also the inevitable snafus, such as the 
bus that didn't show up for the planned afternoon Catskill 
tour and the sudden illness of Robert (too much popcorn 
at the Wednesday night video party?) which forced the 
cancellation of several classes. Nonetheless, Ed deserves 
much praise for a well-planned, "get-your-money's- 
worth" event. How he ran everything and had time for 
his classes (and a daily newsletter for everyone!) is 
beyond under-standing. 

There are already plans for next year's Jamboree, so 
be warned - sign up early! 



Struwwelpeter Pop-up 

Movable Book Society member Massimo Missiroli 
has paper engineered a new edition of Struwwelpeter. 
Six of the most famous stories - wicked Frederic, Caspar 
and the soup, the child who sucks his thumbs, John look- 
at-the-air who falls into the water, and Robert who flies 
- are among those collected in this pop-up edition. 

Massimo lives in Italy and has been dealing with the 
theory and the practice of all kinds of pop-up books. In 
exhibitions and workshops he has used pop-ups to 
examine various means of communicating. 

Das Struwwelpeter-pop-up-buch, by Heinrich 
Hoffman, was issued by Schreiber. It is 20 x 25 cm. and 
sells for DM 24,80. The ISBN is 3-480-2053-5. 



The page from the year 1996 shows a woman who 
dressed elegantly for a visit to Uie theater. First she 
appears in an apron and with a facial pack made of 
cucumber slices. Half of this symmetrical figure can be 
folded, thus transforming this housewife into a 
gentlewoman with an evening dress, a ladies' handbag, 
and jewelry. 




The last picture sends Uie spectator into the year 
2046 and shows the theater of the future. The building 
can be folded in a parallel way to the front. A foldable 
cardboard tab with the respective date of the picture 
hovers like a festoon over all double pages. This idea 
comes from the Beatles book from 1985. The whole 
book is 1,90 m high; it is 2,60 m wide when unfolded, 
and it weighs 44 kilos. It was presented in the theater 
during the festival in 1996. 

The exchange of experience 

The finished object being introduced to the local 
press, the pupils asked proudly if they had produced 
the world's biggest pop-up (or Europe's ...or at least 




Germany's)? It goes without saying that I could not 
answer that question. 

But perhaps other readers of Movable stationery 
could give their opinions on that matter, could report 
their own experiences, could launch an international 
exchange of pupils' works? 

I am very much looking forward to your mail: 

Ulrich Tictz 
Langeoogstrasse 57 
D-45665 Recklinghausen 



Arizona Pop-up Exhibit 

The 1 1th Annual Pop-Up and Movable Book Exhibit 
will be held at the University of Arizona from December 
1, 1998 through January 31, 1999. The exhibit, 
consisting mostly of pop-up and movable books 
published in 1998, will occupy cases in the Special 
Collections Lobby, and the lobby and third floor of the 
main Library building. This exhibit is free and open to 
the public. A catalog will be available for those 
attending. 

The exhibit will feature hand made or limited edition 
books made by Arizona artists. These will be exhibited 
in the Special Collections Lobby. For four days following 
the opening of the exhibit there will be a short 
presentation (talks, demonstrations, and/or hands on 
workshop) each day, in the Special Collections Lobby. 
The schedule of presentations is as follows: 

Tuesday, December 1, 1998 

Dr. James Sinski, Exhibit Curator 
Wednesday, December 2, 1998 

Mabel Dean, Book Artist 
Thursday, December 3, 1998 

Joyce Brodsky, Book Artist 
Friday, December 4, 1998 

Shirley Johannesma, Book Artist 

These events are intended for adults. The exact times 
and titles will be announced later. Information can be 
gathered from the local press, by phone (520) 621-4300 
or e-mail SINSKIJ@u.arizona.edu. 



Fourteen artists and (heir XXL-Book 



Learning how to make pop-ups: Part II. 

Robert Sabuda 
New York, New York 

These titles are for pop-up makers of any age, but 
whose skill level is intermediate . Advanced books 
will appear in the next issue. 

Hiner, Mark. Paper engineering for pop-up 
books and cards. Tarquin Publications 1985. ISBN 
0-9062 1 2-49-9, $ 1 1 .95 US, 30x2 1 cm. 48 pp 
softcover, simple black & white illustrations filled 
with flat areas of colors. 

Areas covered: V-fold, layers, box, rotating disc, 
basic tab mechanisms. 

Lessons or projects: 10 lessons, each 
demonstrating a pop-up principle. 

Intended audience: Adults. 

Advantages: Clearly illustrated with lessons that 
are to be cut from the pages and actually assembled. 
Includes sidebars of "Technical considerations" and 
ideas for specific projects. Considered a classic. 

Disadvantages: Where's the sequel? 

Irvine, Joan. How to make super-pops. Beech 
Tree Books 1992. ISBN 0-688-1 1521-7, $6.95 US, 
21x24cm. 96 pp softcover, humorous black & white 
illustrations. 

Areas covered: V-fold, layers, full 360 degree 
3-D structures, cones, tab mechanisms, "Volvelle" 
(rhymes with pole-bell; interlocking Victorian 
fuming circle, audio mechanisms, rubber band 
mechanisms, pop-up masks, large scale pop-ups. 

Lessons or projects: Approx. 30 projects of wide 
variety, each creating a finished object. 

Intended audience: Children. 

Advantages: Clearly illustrated with numbered 
instructions. Excellent projects, many quite 
challenging and requiring up to 20 steps. Some 
patterns to trace or photocopy. 

Disadvantages: Could use a few more patterns. 

Jackson, Paul. The Pop-up Book. Henry Holt & 
Co, 1993. ISBN 0-8050-2884-6, $18.95, 23x28cm. 
160 pp softcover, color illustrations and photos. 

Areas covered: V-fold, layers and full 360 degree 
3-D structures. 

Lessons or projects: Approx. 20 projects many 
making abstract or geometric forms. Variation ideas 
given for some of the projects. 

Intended audience: Adults. 

Advantages: Instructions clearly numbered and 
accompanied by photos. Has a gallery of many 



finished pop-up projects (although most are much 
more advanced than the book's lessons). 

Disadvantages: No templates or patterns to trace 
or photocopy but measurements are given. Too many 
abstract projects. 

Jackson, Paul. Make it with paper - Paper 
pop-ups. Quarry Books 1997. ISBN 1-56496-170-2, 
$19.99 US, 22x28cm. 1 12 pp softcover, color 
illustrations and photos. 

Areas covered: V-fold, layers, "Tent," box, coils. 

Lessons or projects: 1 1 projects each creating a 
finished object: flowers, animals, etc. 

Intended audience: Adults. 

Advantages: Instructions clearly numbered and 
accompanied by photos. Includes actual paper 
examples which can be photocopied or cut out and 
assembled. 

Disadvantages: Only a few pop-up principles 
explored. Too few projects. 

Munneke, Idelette. Pop-Ups zelf maken. 

Cantecleer 1988 (unknown if still in print, given to 
me as a gift). ISBN 90-213-0430-9, price unknown, 
14x2 lcm. 60 pp softcover, simple black & white 
illustrations and color photos. German text. 

Areas covered: V-fold, layers, full 360 degree 
3-D structures. 

Lessons or projects: 31 projects, each creating a 
finished object: some abstract forms, others scenes 
with people and animals. 

Intended audience: Adults. 

Advantages: Actual size patterns given which can 
be photocopied to make the pops. Most projects are 
layer variety requiring very few steps. Others are 
quite complex. 

Disadvantages: Only a few pop-up principles 
given. Could be more diverse. 

Palmer, Mike. Pop-up Greetings Cards. 

Chartwell books 1993. ISBN 1-55521-897-0, $12.98 
US, 22x28cm. 1 12 pp hardcover, color illustrations 
and photos. 

Areas covered: V-fold, layers, full 360 degree 
3-D structures, box, paper chains, simple envelopes. 

Lessons or projects: 38 projects, each creating a 
finished object most of which are Jioliday themed. 

Intended audience: Adults. 

Advantages: Instructions clearly numbered and 
accompanied by photos. Great projects. Has "star" 
rating system for complexity of projects. Grid 
patterns for each project included which can be 
enlarged. 



Disadvantages: Could use a few more pop-up 
principles. 

Watt, Fiona. The Usborne book of paper 
engineering. Usborne Publishing 1997. ISBN 
0-7460-2327-8, $5.95 US, 20x25cm. 32 pp softcover, 
color illustrations and photos. 

Areas covered: V-fold, layers, full 360 degree 
3-D structures, tab mechanisms, "twisting box heads" 
(not pop-ups), automaton of squawking bird. 

Lessons or projects: 12 projects, each creating a 
finished object: animals, 3-D scenes, decorated 
boxes. 

Intended audience: Children and adults. 

Advantages: Clearly illustrated and numbered 
instructions. Templates to trace for every project. 
Interesting projects, some very challenging. 

Disadvantages: Many projects are not actually 
pop-ups even thought the title does say "paper 
engineering" (but who says "paper engineering has to 
mean pop-ups?). Several projects are 3-D paper 
constructed projects only, and may be too complex 
for younger pop-up makers. 



continued from page 2 

The cities of "Souvenirs," for example, are cities I had 
lived in. "Memories of Science" (the next edition) 
was based on my experiences in the sciences in school 
and college. 

Have you considered collaborating with other artists 
on a book? 

I am lucky to have a wonderful illustrator, my sister 
~ Susan Hunt Yule ~ who was willing to work with me 
on the Cities books to make drawings that would work 
with the pop-ups I wanted to do. We would go back and 
forth between drawing and engineering. I think my 
ongoing collaboration with my sister works because we 
share so much (genetics, personal history) that 
communication is multi-leveled. When we first started 
working together, it was more an art director/illustrator 
relationship, but as we go on, there is more give and 
take. Susan has started making her own books. My hope 
is that we can build a stronger collaboration if we both 
work in the book form. Many book artists confine 
themselves to unique, one-of-a-kind books. 

What appeals to you about making editions? 

I find unique books are a good way to explore 
thematic ideas, structures and forms. If I look at my 
books over time I can see themes that come and go and 
evolve. When I do an edition, I learn a lot about a 
specific book — I always think when you've finished an 



edition you know then how you should have done the 
book. Especially in the process of binding, I find I 
understand more profoundly how structures work and I 
also find in the repetitive process a kind of meditative 
state that often brings up new and different ideas, 
inspirations and visions. 

Have you ever considered making larger books? 

I have made several editions of larger books. Working 
large allows for a lot more elaboration and complexity, 
though increasingly I try for more complexity in my 
small books, too. I have always had a fascination for the 
small (when I was young I collected dollhouse 
miniatures) and I think working in a small scale gives a 
certain kind of control — you can fit all the pieces in a 
smaller space, work in a closer and more intimate way - 
sort of the difference between hand-sewing something 
tiny and full-scale tailoring. Probably the reason I started 
making tiny books, apart from anything else, was that all 
those off-cuts from larger projects were so seductive and 
it was so easy to play with something small that you 
could work in your hand. 

Based on your experience with pop-ups, how do you 
see your work evolving in the future? 

I'm not sure how my work will evolve. I know that I 
like to play with increasingly complicated pop-up 
structures and I like the idea of creating something that 
surprises readers and draws them in unexpectedly. 



Changing Pages 

The Collins Gallery introduced British artists' books 
to the exhibition program in 1995 with "Brought to 
Book." "Changing Pages" continues with this medium, 
focusing on American and British movable books by 
contemporary artists. The exhibition is intended to 
appeal to all ages and will incorporate children's pop-ups 
by major publishers, available for handling. This will be 
accompanied by an introduction into the origins and 
development movable books for children from the turn- 
of-the-century to the 1980's. 

The exhibit will include historic and contemporary 
books from both private and public collections. The 
works of over 30 artists will be represented with one-of- 
a-kind and limited edition pop-up structures in addition 
to over 100 recent books by British and American 
publishers. 

"Changing Pages" begins a two year tour in the U.K. 
beginning in November 1 998. For a tour itinerary contact 
Morag Davidson, exhibitions organizer, Collins Gallery, 
University of Strathclyde, 22 Richmond Street, Glasgow 
Gl I XQ Scotland. 




ROBERT SABUOA 



1 M - AWFUL 

2 "fc - POOR 

4 iV- Good 

5 ^ ■ Superb 






Amazing pop-up & pull-tab circus 
performers. By Ken Wilson-Max. 
1 Cartwheel Books/Scholastic. 0-590-37224-6 
$15.99 US, $19.99 Can. 24x25 cm. 6 spreads. 2 
multi-piece pops, 4 tab/flap mechs, 1 shooting paper 
projectile, 3 removable paper clowns. Art: Bright, 
brushy simple paintings. Plot: Circus performers strut 
their stuff. Art is great, but not a lot of activity for 
such a large book. Shooting man from cannon is a 
definite plus. Paper Eng: Simple. 

Annie ate apples. By Lynette Ruschak. Ill: 
Bonnie Matthews. Paper Eng: Vicki Teague- 
I Cooper. DK Ink. 0-7894-2478-9. $14.95 US. 
19x25cm. 7 multi-piece pops, 16 tab/flap mechs, 2 
wheels. Art: Humorous pen/watercolor. Plot: Annie 
amazingly has at least one friend whose first name 
and hobby begins with each letter of the alphabet. 
Wacky fun. Lots to play with. Paper Eng: Simple. 

Black cat, white cat. By Chuck Murphy. 
Little Simon. 0-689-81415-1. $12.95 US, 
$17.50 Can. 16x1 6cm. 10 pages. 3 multi- 
piece pops, 6 tab/flap mechs, 1 flap. Art: Sophisti- 
cated computer generated images. Plot: "A pop-up 
book of opposites." Murphy continues his loosely 
based 'black and white' series with very nice results. 
Cats are elegant and regal, and the last pull-tab makes 
it all worth while. Paper Eng: Somewhat complex. 

Curious critters. Words by Alan Benjamin. 
Ill & Paper Eng: David A. Carter. Little 
Simon. 0-689-81586-7. $16.95 US, $22.95 
Can. 23x23cm. 5 spreads. 2 pops, 7 pull-tabs, 1 
sound chip of a very bad soprano. Art: Humorous, 
colorful computer generated imagery. Plot: A variety 
of hybrid animals, the likes of which you've never 
seen. Terrific fun and silly as would be expected. 
Sound chip is one of the best ever. Paper Eng: 
Somewhat complex. 

Desmond the dog. Text & Paper Eng: Nick 
Denchfield. Ill: Ant Parker. Red Wagon 
Books/Harcourt Brace. 0-15-201340-7. 
$12.95 US. 19x1 9cm. 7 spreads. 3 pop/pull tabs, 1 
large fold-up flap. Art: Humorous pen/watercolor. 
Plot: The very simple adventures of a very 





disobedient dog. Fun, bold art for young readers. 
Paper Eng: Simple. 

^A^ The Haggada of Passover. Design and 
AJLjV Paper Eng: Keith Moseley. Ill: Linda 
■^^^ Birkinshaw. The Israel Museum, Jerusalem 
& Kidsbooks, Inc. 1-56156-498-2. $39.95 US, 
$49.95 Can. 21x29cm. 66 pages. 3 pops, 16 tab/flap 
mechs, slipcase for book. English and Hebrew text. 
Art: Watercolor reproductions (surprisingly Maurice 
Sendak-like in execution) of the Bird's-head 
Haggada c. 1300. Plot: Major scenes and events from 
the Haggada. A most unusual title due to the subject 
matter and the original from which it is derived. Pops 
sparsely placed throughout. A must have if you 
collect (and can afford the steep price tag). Paper 
Eng: Simple. 

^A_ Lest we forget. By Velma Maia Thomas. 
/fjLjV Paper Eng: Uncredited. Crown Publishing 
ti&m Group. 0-609-60030-3. $29.95 US, $41.95 
Can. 24x24cm. 32 pages. 1 pull-tab, 3 flaps, 4 
removable paper items in envelopes. Art: Photos and 
engravings. Plot: Exploring the origins of the 
enslavement of over 100 million Africans with words 
and visual elements from the Black Holocaust 
Exhibit. Beautifully designed and full of details. 
Quite moving and notable as one of the very few 
African American movables. Paper Eng:Very simple. 

The long-nosed pig. By Keith Faulkner. Ill: 
Jonathan Lambert. Paper Eng: Uncredited. 
Dial Books. 0-8037-2296-6. $1 1.99 US, 
$17.50 Can. 24x24cm. 7 spreads, 6 pops. Art: 
Brightly painted cut paper. Plot: As a result of his 
vanity, the world's first pig is taught a lesson. Basic 
and cute fun, although pops are quite predictable. For 
very young readers. Paper Eng: Very simple. 

Pop-up trucks. By Richard Fowler. Red 
Wagon Books/Harcourt Brace. 0-15- 
201681-3. $14.95 US, $20.95 Can. 23x23 
cm. 5 spreads. 4 pops, 6 pull-tabs. Art: Humorous 
pen/watercolor. Plot: Everything a young reader 
wants to know about trucks. Basic technical 
specifications are given for all 5 vehicles. Nice 
detailed art for truck lovers. Paper Eng: Simple. 

^.A^ Say Cheese! By David Pelham. Dutton 
A*La Children's Books. 0-525-45979-0. $13.99 
■<^*" US. 14x1 3cm (shaped like a 3-D wedge of 
cheese). 12 spreads. 12 pops, 3 tab/ flap mechs, one 
3-D mouse inserted in cover. Art: Humorous pert 






watercolor. Plot: Grandma Mouse tries to get all her 
family members to "say cheese" for a family portrait. 
A delightful and tasty treasure for all. The unique 
wedge shape and little mouse in a cheese hole are 
particularly inviting. Paper Eng: Simple. 

^A^ The think tank. By Ivan Muscovich. DK 
P£K Ink. 0-7894-2429-0. $24.95 US. 21x28cm. 
■^^^ 10 spreads, 10 paper pages of answers. 3 
pops, 12 multi-piece paper games with various 
playing pieces. Art: Photos and computer generated 
linages. Plot: Games and puzzles to challenge logic, 
perception and creativity. I certainly don't like to 
think of myself as stupid, but yikes! Challenging is 
an understatement! Or maybe I'm just too impatient. 
All the movables look great and the text is full of info 
but some of the little paper pieces are difficult to 
move around. Paper Eng: Simple. 

Top to tail bear. By Jasmine Brook. Ill: 
Anthony Lewis. Paper Eng: Uncredited. 
Barrons. 0-7641-5072-3. $7.95 US, $9.95 
Can. 18x1 8cm. 5 spreads. 2 tab/flap mechs, 2 flaps. 
Art: Humorous, cute pen/watercolor. Plot: A baby 
bear's introduction to other animals tail's (boy, that 
sounds dirty doesn't it?). Sugary and sweet for very 
young readers. Paper Eng: Very simple. Also: Over 
the moon bear, 0-7641-5071-5. 



Questions and Answers 

A. In response to a question posed in the last issue 
requesting information about pop-ups in record albums. 
I have a 33-V3 record "Walt Disney's Sword in the Stone" 
- "LP Record and Pop-up Panorama Storybook." Along 
with the record, the album cover has eight pages: three 
double-page large pop-up scenes from the movie, each 
with text telling the story. It is marked "Copyright 1963 
Walt Disney Productions" and "Litho in Japan by 
Graphics International, Inc. Los Angeles," numbered 
"ST 4901." 

Carolyn Lilly 

San Diego, California 

Further Explanation 

Volume 6, Number 2 of Movable Stationery included 
a Convention Trivia quotation "First edition Hallmark 
books sold for $4 indicated in code on the books' back 
cover, have double-sided artwork, and illustrated 
endpapers." This statement was made about identifying 
SOME Hallmark books published in multiple editions. 
When two books appear to be identical, it is possible to 
tell which one was issued first by the price code printed 
on the back cover and printing on both the front and back 
side of the pop-up. 



Origami Festival 

Charlotte, North Carolina will host the Southeastern 
"Origami Festival: A celebration of the paper-folding 
arts" from September 22-27, 1998. The festival offers 
"something for everyone." Visitors, students of art or 
science, fine art collectors, anyone curious about the art 
of origami will appreciate the variety of activities 
planned for this event. Among the featured presenters 
and teachers are Japan's internationally recognized 
origami master Akira Yoshizawa; Paul Jackson, author 
of several pop-up "how-to" books; and Joyce Aysta, 
Movable Book Society member and creator of pop-up 
cards. 

For more information contact the Southeastern 
Origami Festival, P.O. Box 2573, Charlotte, North 
Carolina 28247-2573, Phone: 704-375-3692 or Fax: 704- 
542-3991. 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or adver- 
tising. All titles include pop-ups unless otherwise 
identified. Titles reviewed in Robert Sabuda's "Movable 
Reviews" column are not included in this list. 

ABC Disney. By Robert Sabuda. Disney Press September 
. 8 x 10. 26 pages. $21.95. 0-7868-3132-4. 

Circus! A pop-up adventure. Little Simon. September. 

1 1 x 1 1. 12 pages. $18.95. 0-689-82093-3. 

Dracula steps out. Orchard Books, September. 1998. 

12 pages. 8!/ 2 x 11. 12 pages. $15.95. 0-531-30100-1. 

Eerie feary feeling: A hairy scary pop-up book. Orchard 
Books. 8'/2 x 1 1. 12 pages. $13.95. 0-531-30086-2. 

Fire engine to the rescue: A pop-up book. [Contains only 
tab-operated mechanicals.] By Steve Augarde. Tupelo 
Books, September. 8 x 10. 10 pages. $14.95. 
0-688-16328-9. 

Robert Crowther's deep down under ground: Pop-up 
book of amazing facts and feats. [Contains only tab- 
operated mechanicals.] Candlewick Press, September. 
18 pages. 8'/ 2 x 1 1. $14.99. 0-7636-032 1-x. 

Our Lady of Guadalupe. By Francisco Serrano. 
Groundwork Book, Distributed in the US by Publishers 
Group West. September. 8'/i x 11. 12 pages. $16.95. 
0-88899-335-8. Also available in Spanish. La Virgen de 
Guadalupe. 0-88899-340-4. 



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